|
|
|
contact | mailing list | |
|
|
|||
|
|
|
|
|
|
Annotated Table of Contents I. Foundations The realm of the circuit is a domain of limitless territory. Electronic digital technologies give us newfound freedom to form and shape the creative acts that produce culture. Interactive and multimedia virtual worlds contain and transform our accumulated accomplishments and heighten our continuing aspirations for knowledge. The dataset -- the digital file that holds creative endeavor -- is the foundation for this new network. The democratizing effects of this new condition are available to a wide audience who aspire to be creative. The network is both the superstructure and the foundation for a global economy of creativity. a) The Circuit -- foundation of digital culture b) Dataset -- the reduction of creativity to the virtual binary digit. i) Elements of the Computer ii) History of the Computer iii) History of the Bitmapped Image c) Multimedia -- stimulation of multiple senses. d) World Brain -- the accumulation of the world's cultural heritage. i) Chronology: Circuit ii) Chronology: Collections iii) Chronology: Multimedia II. Metafora Creativity is the process of giving form to vision that is otherwise unrecognized by everyday perception. Creative expression was once limited by the tools that were used to translate imagination into physical form. In the computer, the creative individual is presented with tools that are constantly in flux. This chapter investigates creativity as a vehicle for the translation and transformation of ideas, and discusses the new forms of creativity facilitated by the computer: metafora. a) Gesture -- an elemental and physical means of conveying meaning. b) Sound -- the expressive organization of tone. c) Object -- three-dimensional embodiment of metafora. d) Image -- meaning conveyed through representational or graphical form. e) Word -- meaning conveyed through language. f) Word -- systematic representation and notation through language. g) Endpoint: The Rise of the Electric Metafora i) History of Hypertext ii) History of Printing III. Dialog Human beings are social animals, and dialog in its broadest sense is the means through which we relate, how we define ourselves to others and through others. New dialogs enabled by the computer consist of the exchange of metafora, the creative potential of the computer. Creativity is an encounter, and as the realm of the circuit produces new ways of interacting, of encountering other people, it produces new fields of creativity. The first two chapters provide the how of creativity; this chapter provides the why. a) Identity -- Who am I and Where did I come from? b) Survival -- the primal instinct for self-preservation. c) Learning -- the transmission and preservation of culture through metafora. d) Advertising -- use of imagery to gain attention for one's interest. i) Chronology: Advertising e) Love -- the primal creative force f) Amusement -- the pleasurable occupation and diversion of the mind. i) Endpoint: Interactivity ii) Chronology: Interactivity IV. Elements of Structure
All creative acts have a structure that is built from many elements. Understanding the elements covered in this chapter enables us to use them to stretch our imaginations and the imagination of others. Because the computer manages metafora in multiple forms, it is necessary for those who creatively engage this tool to understand these fundamentals.
a) Narrative -- the story of ourselves. b) Spacetime -- the filament of our existence. c) Form -- that which gives structure to conent. d) Color -- the tool of emotional tone. e) Rhythm -- the organizing beat of all metafora f) Perspective -- the relative position of the teller to audience. g) Style -- expression of the personality of the maker. h) End Point i) Interlude: History of Perception ii) Chronology: Time V. Past, Present, Future A creative interlocutor -- a twenty-first-century artist -- is the product and producer of an enlightened engagement within the realm of the circuit, fostered by an educational system that is transdisciplinary in nature and values the management of ideas as much as the teaching of them. We define the creative interlocutor as a person or group who facilitates the exchange of ideas between one need and another. This person is a navigator, helmsman, producer, director, and organizer of the infinite library of the dataset. More specifically, the creative interlocutor is an editor, collector, and curator who makes, weaves, welds, builds, and, finally, is a distributor of inspiration. Creative interlocutors are also programmers, inventors, and researchers who negotiate the revolutionary associations of the dataset with us and for us. {see also article on creative interlocutors} Forum on the creative interlocutor is coming soon. a) Prelude b) Biographies of fifty-eight creative interlocutors c) Starting Point Chronology of World Events
Glossary
Bibliography
Image Credits
Index
|
|
|||||||||
 |
This site ©2003 Charles H. Traub and Jonathan Lipkin. Maintained by webmaster@intherealmofthecircuit.com. | |
| ||
| Virilio, Paul :: British Post Act :: Federal Aid Highway Act :: MOO :: Gnutella :: Schlemmer, Oscar :: PostScript :: Poor Richard's Almanac :: Einstein, Albert :: Paper Museum :: Hill, Rowland :: Aristotle :: Pericles :: Cyrus :: Tinguely, Jean :: Hill, Rowland :: Plato :: Goldberg, Rube :: Leibniz, Gottfried Wilhelm :: Johnson, James Weldon :: | ||
